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19 <title>DCP-o-matic users' manual</title>
20 <author><firstname>Carl</firstname><surname>Hetherington</surname></author>
23 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
24 <title>Introduction</title>
27 Hello, and welcome to DCP-o-matic!
30 <!-- ============================================================== -->
32 <title>What is DCP-o-matic?</title>
35 DCP-o-matic is a program to generate <ulink
36 url="http://en.wikipedia.org/wiki/Digital_Cinema_Package">Digital
37 Cinema Packages</ulink> (DCPs) from DVDs, Blu-Rays, video files such as MP4
38 and AVI, or still images. The resulting DCPs will play on modern digital
45 <!-- ============================================================== -->
47 <title>Licence</title>
50 DCP-o-matic is free and open-source and is licensed under the <ulink
51 url="http://www.gnu.org/licenses/old-licenses/gpl-2.0.html">GNU
58 <!-- ============================================================== -->
60 <title>Acknowledgements</title>
63 This manual uses icons from the <ulink url="http://tango.freedesktop.org/">Tango Desktop Project</ulink>, with thanks.
70 <!-- ============================================================== -->
71 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
72 <title>Installation</title>
75 <!-- ============================================================== -->
77 <title>Windows</title>
80 To install DCP-o-matic on Windows, download the installer from
81 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
82 and double-click it. Click through the installer wizard, and
83 DCP-o-matic will be installed onto your machine.
87 If you are using a 32-bit version of Windows, you will need the 32-bit
88 installer. For 64-bit Windows, either installer will work, but I
89 suggest you used the 64-bit version as it will allow DCP-o-matic to
90 use more memory. You may find that DCP-o-matic crashes if you run
91 many parallel encoding threads (more than 4) on the 32-bit
98 <!-- ============================================================== -->
100 <title>Mac OS X</title>
103 DCP-o-matic will run on Mac OS X version 10.6 (Snow Leopard) and
104 higher. To install it, download the <code>.dmg</code> from <ulink
105 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink> and double
106 click to open it. Then drag the DCP-o-matic icon to your
107 <guilabel>Applications</guilabel> folder or wherever else you would
114 <title>Ubuntu Linux</title>
117 You can install DCP-o-matic on Ubuntu 12.04 (‘Precise
118 Pangolin’), 14.04 (‘Trusty Tahr’) or 15.04
119 (‘Vivid Vervet’) using <code>.deb</code> packages:
120 download the appropriate package from <ulink
121 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink> and
122 double-click it. Ubuntu will install the necessary bits and pieces
123 and set DCP-o-matic up for you.
129 <!-- ============================================================== -->
131 <title>Debian Linux</title>
133 Packages are available for Debian 7 (squeeze), 8 (jessie) and unstable (sid) from <ulink
134 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>.
139 <!-- ============================================================== -->
141 <title>Centos Linux</title>
143 Packages are available for Centos 6.5 and 7 from <ulink
144 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>.
149 <!-- ============================================================== -->
151 <title>Arch Linux</title>
153 Packages for Arch Linux are available from <ulink
154 url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
155 thanks to Stefan Karner.
160 <!-- ============================================================== -->
162 <title>Other Linux distributions</title>
165 Installation on other Linux systems (for which no packages are
166 available) is quite hard; you will have to compile it from source. If
167 you are using distribution for which no packages are available, do let
168 me know by <ulink url="mailto:carl@dcpomatic.com">email</ulink> and I
169 will look into providing packages on the website.
173 The following dependencies are required:
175 <listitem><ulink url="http://ffmpeg.org/">FFmpeg</ulink></listitem>
176 <listitem><ulink url="http://www.mega-nerd.com/libsndfile/">libsndfile</ulink></listitem>
177 <listitem><ulink url="http://www.openssl.org/">OpenSSL</ulink></listitem>
178 <listitem><ulink url="http://www.openjpeg.org/">libopenjpeg</ulink></listitem>
179 <listitem><ulink url="http://www.imagemagick.org/script/index.php">ImageMagick</ulink></listitem>
180 <listitem><ulink url="http://www.boost.org/">Boost</ulink></listitem>
181 <listitem><ulink url="http://www.libssh.org/">libssh</ulink></listitem>
182 <listitem><ulink url="http://www.gtk.org/">GTK (on Linux)</ulink></listitem>
183 <listitem><ulink url="http://www.wxwidgets.org/">wxWidgets</ulink></listitem>
184 <listitem><ulink url="http://libxmlplusplus.sourceforge.net/">libxml++</ulink></listitem>
185 <listitem><ulink url="http://www.aleksey.com/xmlsec/">xmlsec</ulink></listitem>
186 <listitem><ulink url="http://curl.haxx.se/">curl</ulink></listitem>
187 <listitem><ulink url="http://www.nih.at/libzip/">libzip</ulink></listitem>
188 <listitem><ulink url="http://carlh.net/software/libdcp/">libdcp</ulink></listitem>
189 <listitem><ulink url="http://carlh.net/software/libcxml/">libcxml</ulink></listitem>
194 Once you have installed the development packages for the dependencies,
195 download the source code from <ulink
196 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>,
197 unpack it and run the following commands from inside the source
208 With any luck, this will build and install DCP-o-matic on your system. To run it, enter:
223 <!-- ============================================================== -->
224 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
225 <title>Creating a video DCP</title>
228 In this chapter we will see how to create a video DCP using
229 DCP-o-matic. We will gloss over the details and look at the basics.
233 <title>Creating a new film</title>
236 Let's make a very simple DCP to see how DCP-o-matic works. First, we
237 need some content. Download the low-resolution trailer for the open
238 movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
239 url="http://ftp.nluug.nl/ftp/graphics/blender/apricot/trailer/Sintel_Trailer1.480p.DivX_Plus_HD.mkv">their
240 website</ulink>. Generally, of course, one would want to use the
241 highest-resolution material available, but for this test we will use
242 the low-resolution version to save everyone's bandwidth bills.
246 Now, start DCP-o-matic and its window will open. First, we will
247 create a new ‘film’. A ‘film’ is how DCP-o-matic refers to
248 some pieces of content, along with some settings, which we will make into
249 a DCP. DCP-o-matic stores its data in a folder on your disk while it
250 creates the DCP. You can create a new film by selecting
251 <guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
252 shown in <xref linkend="fig-file-new"/>.
255 <figure id="fig-file-new">
256 <title>Creating a new film</title>
259 <imagedata fileref="screenshots/file-new&scs;"/>
265 This will open a dialogue box for the new film, as shown in <xref
266 linkend="fig-video-new-film"/>.
269 <figure id="fig-video-new-film">
270 <title>Dialogue box for creating a new film</title>
273 <imagedata fileref="screenshots/video-new-film&scs;"/>
279 In this dialogue box you can choose a name for the film. This will be
280 used to name the folder to store its data in, and also as the initial
281 name for the DCP itself. You can also choose whereabouts you want to create
282 the film. In the example from the figure, DCP-o-matic will create a
283 folder called ‘DCP Test’ inside my home folder (carl) into which it
284 will write its working files.
290 <!-- ============================================================== -->
292 <title>Adding content</title>
295 The next step is to add the content that you want to use. DCP-o-matic
296 can make DCPs from multiple pieces of content, but in this simple
297 example we will just use a single piece. Click the <guilabel>Add
298 file(s)...</guilabel> button, as shown in <xref
299 linkend="fig-add-file"/>, and a file chooser will open for you to
300 select the content file to use, as shown in <xref
301 linkend="fig-video-select-content-file"/>.
304 <figure id="fig-add-file">
305 <title>Adding content files</title>
308 <imagedata fileref="screenshots/add-file&scs;"/>
313 <figure id="fig-video-select-content-file">
314 <title>Selecting a video content file</title>
317 <imagedata fileref="screenshots/video-select-content-file&scs;"/>
323 Select your content file and click <guilabel>Open</guilabel>. In this
324 case we are using the Sintel trailer that we downloaded earlier.
328 When you do this, DCP-o-matic will take a look at your file. After a
329 short while (when the progress bar at the bottom right of the window
330 has finished), you can look through your content using the slider to
331 the right of the window, as shown in <xref linkend="fig-examine-content"/>.
334 <figure id="fig-examine-content">
335 <title>Examining the content</title>
338 <imagedata fileref="screenshots/examine-content&scs;"/>
344 Dragging the slider will move through your video. You can also click
345 the <guilabel>Play</guilabel> button to play the content back. <emphasis>Note
346 that there will be no sound</emphasis>, and playback might not be entirely
347 accurate (it may be slightly slower or faster than it should be, for
348 example). This player is really only intended for brief inspection of
349 content; if you need to check it more thoroughly, use another player
351 url="http://projects.gnome.org/totem/index.html">Totem</ulink>, <ulink
352 url="http://www.mplayerhq.hu/design7/news.html">mplayer</ulink> or
353 <ulink url="http://www.videolan.org/vlc/index.html">VLC</ulink>.
361 <!-- ============================================================== -->
363 <title>Making the DCP</title>
365 <para>In most cases, some adjustments would be made to DCP-o-matic's
366 settings once the content has been added. For our simple test,
367 however, the default values will suffice, so we can go straight onto
368 making the DCP.</para>
371 Choose <guilabel>Make DCP</guilabel> from the
372 <guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
373 This may take some time (many hours in some cases). While the job is
374 in progress, DCP-o-matic will update you on how it is getting on with
375 the progress bar in the bottom of its window, as shown in <xref
376 linkend="fig-making-dcp"/>.
379 <figure id="fig-making-dcp">
380 <title>Making the DCP</title>
383 <imagedata scale="50" fileref="screenshots/making-dcp&scs;"/>
389 When it has finished, the DCP will end up on your disk inside the
390 film's folder. You can then copy this to a projector via a USB
391 stick, hard-drive or network connection. See <xref
392 linkend="ch-files"/> for details about the files that DCP-o-matic creates.
396 Alternatively, if you have a projector or Theatre Management System
397 (TMS) that is accessible via SCP across your network, you can upload
398 the content directly from DCP-o-matic. See the <xref
399 linkend="sec-prefs-tms" endterm="sec-prefs-tms-short"/> in <xref linkend="sec-prefs-tms"/>.
406 <!-- ============================================================== -->
407 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
408 <title>Creating a still-image DCP</title>
411 DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
412 for an advertisement or an on-screen announcement. This chapter shows you
417 As with video DCPs, the first step is to create a new
418 ‘Film’; select <guilabel>New</guilabel> from the
419 <guilabel>File</guilabel> menu and the new film dialogue will open as
420 shown in <xref linkend="fig-still-new-film"/>.
423 <figure id="fig-still-new-film">
424 <title>Dialogue box for creating a new film</title>
427 <imagedata fileref="screenshots/still-new-film&scs;"/>
433 Enter a name and click <guilabel>OK</guilabel>. Now we need to add
434 the content. As before, click <guilabel>Add file(s)...</guilabel>.
435 For our example, we will add a single image file, as shown in <xref
436 linkend="fig-still-select-content-file"/>.
439 <figure id="fig-still-select-content-file">
440 <title>Selecting a still content file</title>
443 <imagedata fileref="screenshots/still-select-content-file&scs;"/>
449 As with video DCPs, most of the default settings will be fine for a
450 simple test. The one thing that you might wish to change is the
451 length of the still. Select the <guilabel>Timing</guilabel> tab and
452 you will see a <guilabel>Play length</guilabel> setting, as shown in <xref
453 linkend="fig-timing-tab"/>.
456 <figure id="fig-timing-tab">
457 <title>The timing tab</title>
460 <imagedata fileref="screenshots/timing-tab&scs;"/>
466 This length is a ‘timecode’: it consists of four numbers.
467 The first is hours, the second minutes, the third seconds, and the
468 fourth frames. Enter the duration that you want and then click <guilabel>Set</guilabel>.
472 Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
473 from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
474 be much quicker than creating a video DCP, as DCP-o-matic only needs
475 to encode a single frame which it can then repeat.
481 <!-- ============================================================== -->
482 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
483 <title>Content settings</title>
486 The previous chapters showed DCP generation using the default
487 settings. DCP-o-matic offers a range of features to adjust the
488 content that goes into your DCP, and this chapter describes those features in
493 <title>Adding and removing content</title>
496 At the top of the <guilabel>Content</guilabel> tab is a list of the
497 content that will go into our DCP. There can be as many pieces of
498 content as you like, and they can be of the following types:
502 <listitem>Movie — a file containing some video, probably some
503 audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB.
506 <listitem>Sound — a file containing one or more channels of
507 audio; for example, a WAV or AIFF file.
510 <listitem>Still image — a file containing a single still image; for
511 example, a JPEG, PNG or TIFF file.
514 <listitem>Moving image — a directory containing many still
515 images which should be treated as the frames of a video.
518 <listitem>Subtitle — a file containing subtitle which will be
519 superimposed on the image of the DCP. These can be
520 <guilabel>.srt</guilabel> or <guilabel>.xml</guilabel>
523 <listitem>DCP — an existing DCP.</listitem>
527 To add one or more movie, sound, still-image or subtitle files, select
528 <guilabel>Add file(s)...</guilabel> and choose them from the selector.
532 To add a directory (folder) of images or a DCP, choose <guilabel>Add
533 folder...</guilabel> and choose the directory from the selector. If
534 you select a folder of images DCP-o-matic will open a small dialogue
535 box where you can enter the frame rate that the image sequence should
540 You can remove a piece of content by clicking on its name and then
541 clicking the <guilabel>Remove</guilabel> button.
546 <!-- ============================================================== -->
548 <title>Adding existing DCPs</title>
550 <para>Adding existing DCPs to a DCP-o-matic film is a little different
551 to adding other types of content. Most content has to be converted to
552 JPEG2000, the compression scheme used by DCPs, which is a very
553 time-consuming process. Existing DCPs are already in JPEG2000 format
554 so do not require conversion. This means that, provided no settings
555 such as crop are used on the DCP content, picture and sound data will
556 be passed from existing to new DCP unaltered.
559 <para>Encrypted DCPs that are added as content will require a KDM
560 targeted at DCP-o-matic so that DCP-o-matic can decrypt them. You
561 should ask the creator of the imported DCP to provide a KDM for
562 DCP-o-matic's decryption certificate, which can be obtained by
563 clicking <guilabel>Export DCP decryption certificate...</guilabel>
564 from the <guilabel>Keys</guilabel> tab of the
565 <guilabel>Preferences</guilabel> dialog (see <xref
566 linkend="sec-prefs-keys"/>).
571 <!-- ============================================================== -->
573 <title>Content Properties</title>
576 Below the content list are the controls to set content properties. To
577 adjust the properties for a piece of content, click its name in the
578 content list. The content property controls will then become active
579 for that piece of content.
583 If you want to change the properties for multiple pieces of content at
584 the same time, select the content in the list by clicking the first
585 piece then clicking the other pieces with <keycap>shift</keycap> key
586 held down. Note that not all settings can be changed in this way.
590 The content properties are split up into four sections:
591 <guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
592 <guilabel>Subtitles</guilabel> and <guilabel>Timing</guilabel>. Not
593 all of these sections will be active for all content types. The controls
594 in each section are described below.
600 <!-- ============================================================== -->
605 The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
608 <figure id="fig-video-tab">
609 <title>Video settings tab</title>
612 <imagedata fileref="screenshots/video-tab&scs;"/>
618 <!-- ============================================================== -->
620 <title>Image type</title>
623 The first option on this tab is the ‘type’ of the video.
624 This specifies how DCP-o-matic should interpret the video's image.
625 <guilabel>2D</guilabel> is the default; this just takes the video
626 image as a standard 2D frame. The <guilabel>3D
627 left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
628 left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
631 <figure id="fig-3d-left-right">
632 <title>3D left/right image type</title>
635 <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
641 Alternatively the <guilabel>3D top/bottom</guilabel> option tells
642 DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
643 linkend="fig-3d-top-bottom"/>.
646 <figure id="fig-3d-top-bottom">
647 <title>3D top/bottom image type</title>
650 <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
656 Another option is <guilabel>3D alternate</guilabel> which takes the
657 first frame of the content as for the left eye, the second for the
658 right eye, the third for the left, and so on. Finally, you can
659 specify <guilabel>3D left only</guilabel> or <guilabel>3D right
660 only</guilabel> if this content contains only the the left or right
661 eye images. This is useful when you have the left and right eye image
662 sets in different files; you can specify one content as <guilabel>3D
663 left only</guilabel> and another as <guilabel>3D right only</guilabel>
664 and DCP-o-matic will pick up the appropriate frames from each.
670 <!-- ============================================================== -->
672 <title>Filtering</title>
675 The ‘filters’ settings allow you to apply various video
676 filters to the image. These may be useful to try to improve
677 poor-quality sources like DVDs. You can set up the filters by clicking the
678 <guilabel>Edit</guilabel> button next to the filters entry in the
679 setup area of the DCP-o-matic window; this opens the filters selector
680 as shown in <xref linkend="fig-filters"/>.
683 <figure id="fig-filters">
684 <title>Filters selector</title>
687 <imagedata fileref="screenshots/filters&scs;"/>
693 After changing the filters setup, you will need to regenerate the DCP
694 to see the effect on the cinema screen. The preview in DCP-o-matic
695 will update itself whenever filters are changed, though of course this
696 image is much smaller and of lower resolution than a projected image!
702 <!-- ============================================================== -->
704 <title>Colour conversion</title>
707 The <guilabel>Colour conversion</guilabel> setting specifies what
708 colour transforms and gamma correction DCP-o-matic will use when
709 converting the selected content into the XYZ colourspace for the DCP.
713 The easiest way to select the required conversion is to choose one of
714 DCP-o-matic's presets. DCP-o-matic knows how to convert from four
715 common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not
716 know which preset you should use, refer to the suggestions in <xref
717 linkend="tab-colour-conversion"/>.
720 <table id="tab-colour-conversion">
721 <title>Suggested colour conversion settings</title>
722 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
723 <colspec colwidth='1*'/>
724 <colspec colwidth='5*'/>
727 <entry>sRGB</entry><entry>Still images in RGB, e.g. photographs</entry>.
730 <entry>Rec. 601</entry><entry>Standard-definition content (fewer than about 1000 pixels across) including DVD rips.</entry>
733 <entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
736 <entry>P3</entry><entry>Content explicitly graded to P3.</entry>
743 For other required colour conversions, and if you know what you are
744 doing, you can choose <guilabel>Custom</guilabel> which will open the full
745 colour conversion editing dialogue box:
748 <figure id="fig-colour-conversion">
749 <title>Dialogue box for custom colour conversion</title>
752 <imagedata fileref="screenshots/colour-conversion&scs;"/>
758 Alternatively, choose <guilabel>None</guilabel> if your source files
759 are already in the XYZ colour space and require no conversion.
763 DCP-o-matic's colour conversion processes are discussed in much more
764 detail in a separate document <ulink
765 url="http://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
770 <!-- ============================================================== -->
772 <title>Other settings</title>
775 The <guilabel>crop</guilabel> settings can be used to crop your content,
776 which can be used to remove black borders from round the edges of DVD
777 images, for example. The specified number of pixels will be trimmed
778 from each edge, and the content image in the right of the window will
779 be updated to show the effect of the crop.
783 The <guilabel>fade in</guilabel> and <guilabel>fade out</guilabel>
784 settings can be used to apply linear fades into and out of a piece of
785 content. Specify the time for each, clicking <guilabel>Set</guilabel>
786 after making any changes.
790 The <guilabel>Scale to</guilabel> option governs the shape that
791 DCP-o-matic will scale the content's image into. Select the aspect
792 ratio that your content should be presented in.
797 <!-- ============================================================== -->
799 <title>Video description</title>
802 At the bottom of the video tab is a short description of what will
803 happen to your video with the current settings. In the example of
804 <xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
805 video file is 1920x1080 pixels and it has square pixels (a pixel
806 aspect ratio of 1.00) hence its display aspect ratio is 1.78:1. Since
807 the controls specify ‘16.9’ for the ratio, DCP-o-matic
808 does not scale the image but pads it to the DCP's container ratio of
809 1.85:1. For a 2K DCP this is 1998x1080 pixels.
813 This description also gives the frame rate of the content and what
814 will happen to it when it is played at the DCP's frame rate. See
815 <xref linkend="ch-frame-rates"/> for details of DCP-o-matic's
816 frame-rate conversion.
824 <!-- ============================================================== -->
829 The <guilabel>Audio</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-audio-tab"/>.
832 <figure id="fig-audio-tab">
833 <title>Audio settings tab</title>
836 <imagedata fileref="screenshots/audio-tab&scs;"/>
842 <!-- ============================================================== -->
844 <title>The audio map</title>
847 The section at the bottom of the audio tab is the ‘audio
848 map’. This governs how sound from the content will be arranged
853 Down the left-hand side of the map is the list of audio channels in
854 the currently-selected piece of content. These are labelled with two
855 numbers; the first is the stream index within the content and the
856 second is the channel number within that stream. Some content will
857 have different streams for different languages or audio mixes. Along
858 the top is each channel in the DCP. A green box means that the
859 corresponding content channel will be copied into the corresponding
864 When content channels are copied into DCP channels they can be done
865 with variable gain. If, for example, you want to copy a channel
866 as-is, you can set a gain of 0dB. Alternatively, if you want to mix
867 two channels into one, you may want to use a gain of -6dB on each one
868 to prevent clipping when the two channels are added.
872 The green boxes of the audio mapping view tell you (very roughly) how
873 much gain is applied to each channel. A full-height box means 0dB
874 (i.e. unity) gain. Any less height indicates lower gain.
878 To map one channel to another with 0dB gain, click in the empty box
879 and it will turn green to reflect the mapping. A second click will
880 turn the mapping back off. To set some other gain, right-click on the
881 box to open the gain menu. This allows you to set
882 <guilabel>Off</guilabel> (no mapping or negative infinity gain),
883 <guilabel>Full</guilabel> (0dB gain), -6dB gain or
884 <guilabel>Edit</guilabel> which allows you to set the required gain
889 Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
892 <figure id="fig-audio-map-eg1">
893 <title>Audio map example 1</title>
896 <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
902 Here, we have two channels in the source which are mapped to left and
903 right, respectively, in the DCP. The full green boxes show that the
904 mapping is at unity gain (0dB) in each case. Imagine that we modify
905 the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
908 <figure id="fig-audio-map-eg2">
909 <title>Audio map example 2</title>
912 <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
918 We now have the content's streams mapped to left and right and also
919 mixed together and placed in the DCP's centre channel. The smaller
920 green boxes on the centre mappings show that those channels are added
921 with some non-unity gain; you can see by hovering the mouse pointer
922 over those boxes that the gain for content channels 1 and 2 is -6dB
923 when being sent to the centre channel and 0dB when being sent to left
927 <figure id="fig-audio-map-eg3">
928 <title>Audio map example 3</title>
931 <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
937 As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
938 shows the mapping of a 5.1 source into a 5.1 DCP.
944 <!-- ============================================================== -->
946 <title>Other controls</title>
949 ‘Audio Gain’ is used to alter the volume of the
950 soundtrack. The specified gain (in dB) will be applied to each sound
951 channel of your content before it is written to the DCP.
955 If you use a sound processor that DCP-o-matic knows about, it can help
956 you calculate changes in gain that you should apply. Say, for
957 example, that you make a test DCP and find that you have to run it at
958 volume 5 instead of volume 7 to get a good sound level in the screen.
959 If this is the case, click the <guilabel>Calculate...</guilabel>
960 button next to the audio gain entry, and the dialogue box in <xref
961 linkend="fig-calculate-audio-gain"/> will open.
964 <figure id="fig-calculate-audio-gain">
965 <title>Calculating audio gain</title>
968 <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
974 For our example, put 5 in the first box and 7 in the second and click
975 <guilabel>OK</guilabel>. DCP-o-matic will calculate the audio gain
976 that it should apply to make this happen. Then you can re-make the
977 DCP (this will be reasonably fast, as the video data will already have
978 been done) and it should play back at the correct volume with 7 on
979 your sound-rack fader.
983 Current versions of DCP-o-matic only know about the Dolby CP650 and
984 CP750. If you use a different sound processor, and know the gain
985 curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
990 <guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
991 between audio and video. A positive delay will move the audio later
992 with respect to the video, and a negative delay will move it earlier.
999 <!-- ============================================================== -->
1001 <title>Subtitles</title>
1004 The subtitles tab contains settings related to subtitles in your
1005 content, as shown in <xref linkend="fig-subtitles-tab"/>.
1008 <figure id="fig-subtitles-tab">
1009 <title>Subtitle settings tab</title>
1012 <imagedata fileref="screenshots/subtitles-tab&scs;"/>
1018 DCP-o-matic will extract subtitles from the content, if present, and
1019 they can be ‘burnt into’ the DCP (that is, they are
1020 included in the image and not overlaid by the projector) or included
1021 as a separate subtitle ‘asset’ within your DCP (in which
1022 case the projector overlays them onto the image on playback). The
1023 difference between these two arrangements is illustrated by <xref
1024 linkend="fig-burn-in"/> and <xref linkend="fig-discrete"/>
1027 <figure id="fig-burn-in">
1028 <title>Burnt-in subtitles</title>
1031 <imagedata scale="80" fileref="diagrams/burn-in&dia;"/>
1036 <figure id="fig-discrete">
1037 <title>Separate subtitles</title>
1040 <imagedata scale="80" fileref="diagrams/discrete&dia;"/>
1046 The advantage of separate subtitles is that the same video content can
1047 be used for DCPs in many different languages. This means that only a
1048 small text file needs to be changed for each target language, rather
1049 than a large video file. It also means that the time-consuming video
1050 encoding need only be done once for the project rather than once for
1055 Note that subtitles come in two types: text and bitmap. Text
1056 subtitles are expressed as plain text and can be either burnt into the
1057 image or included as a separate subtitle asset within the DCP. Bitmap
1058 subtitles, on the other hand, are expressed as pre-rendered bitmaps.
1059 They cannot (yet) be added to the DCP as a separate asset and must be
1060 burnt into the image.
1064 Select the <guilabel>Use Subtitles</guilabel> check-box to enable
1069 Select the <guilabel>Burn subtitles into image</guilabel> check-box to
1070 burn these subtitles into the image; if this is not ticked the
1071 subtitles will be included separately in the DCP to be rendered by the
1076 The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
1077 controls move the subtitles around within the image. The offsets are
1078 expressed as a percentage of the video frame size; 100% X offset is
1079 the entire width of the frame, and 100% Y offset is the entire height.
1080 Hence, to move the subtitles down by half the frame height you would
1081 use a Y offset of 50%.
1085 The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
1086 controls scale the subtitles. Scale values of 1 make the subtitles
1087 the same size (relative to the size of the image) as they are on the
1088 original. Values lower than 1 make them smaller, and values higher
1089 make them larger. You can stretch the subtitles in either direction
1090 by specifying different values for X and Y scale. Subtitles from DVD
1091 and Blu Ray sources are frequently larger (relative to the video
1092 frame) than those typically used for DCP, so it is often useful to
1093 scale such subtitles down using these controls.
1097 The <guilabel>Stream</guilabel> control changes the subtitle stream
1098 that is used when the content has more than one.
1104 <!-- ============================================================== -->
1106 <title>Timing</title>
1109 The timing tab contains settings related to the timing of your
1110 content, as shown in <xref linkend="fig-timing-tab-detail"/>.
1113 <figure id="fig-timing-tab-detail">
1114 <title>Timing settings tab</title>
1117 <imagedata fileref="screenshots/timing-tab&scs;"/>
1123 Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
1124 These are expressed as four numbers, as shown in <xref
1125 linkend="fig-timecode"/>.
1128 <figure id="fig-timecode">
1129 <title>Timecode</title>
1132 <imagedata fileref="diagrams/timecode&dia;"/>
1138 <guilabel>Position</guilabel> is the time at which this piece of
1139 content should start within the DCP. In most cases, this will be
1140 <code>0:0:0:0</code> to make the content start at the beginning of the
1145 <guilabel>Full length</guilabel> is the length of the piece of
1146 content. This can only be set for still-image content: for video or
1147 sound content, it is fixed by the nature of the content file. If
1148 still-image content is being used you can set the length for which it
1149 should be displayed using this control.
1153 <guilabel>Trim from start</guilabel> specifies the amount that should be trimmed from the start of the content.
1157 <guilabel>Trim from end</guilabel> specifies the amount that should be trimmed from the end of the content.
1161 <guilabel>Play length</guilabel> indicates how long this piece of
1162 content will be once the trims have been applied. This will be equal
1163 to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
1167 <guilabel>Video frame rate</guilabel> specifies the frame rate for
1168 still-image content. It can also be used to override the detected
1169 frame rate of other content if DCP-o-matic has got it wrong.
1173 Each timecode control has a <guilabel>Set</guilabel> which you should
1174 click when you have entered a new value for a timecode. The
1175 <guilabel>Set</guilabel> button will make DCP-o-matic take account of
1176 any changes to the corresponding timecode.
1182 <!-- ============================================================== -->
1184 <title>Video processing pipeline</title>
1187 This section gives a little more detail about how DCP-o-matic process
1188 video as it takes it from a source and puts it into a DCP.
1192 Consider, as a somewhat over-the-top example, that we have a 720 x 576
1193 image which is letterboxed with 36 black pixels each at the top and
1194 bottom, and the video content within the letterbox should be presented
1195 in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
1196 happen with a trailer). The source image is shown in <xref
1197 linkend="fig-pipeline1"/>.
1200 <figure id="fig-pipeline1">
1201 <title>Example image to demonstrate video processing</title>
1204 <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
1210 DCP-o-matic runs through the following steps when preparing an image for a DCP:
1214 <listitem>Crop</listitem>
1215 <listitem>Scale</listitem>
1216 <listitem>Place in container</listitem>
1220 First, some amount of the image can be cropped. This is almost always
1221 used to remove black borders (letterboxing and/or pillarboxing) around
1226 In our example image, we would use 36 pixels of crop from the top and
1227 bottom. This would give the new image shown in <xref
1228 linkend="fig-pipeline2"/>.
1231 <figure id="fig-pipeline2">
1232 <title>Example image after cropping</title>
1235 <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
1241 The next step is to scale the image. Since this content should be
1242 presented in a 2.39:1 aspect ratio inside a 1.85:1 DCP we would select
1243 <guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
1244 option in the <guilabel>Video</guilabel> tab and
1245 <guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
1246 option in the <guilabel>DCP</guilabel> tab.
1249 <para>The <guilabel>Scale to</guilabel> option should always be set to
1250 the aspect ratio at which the content should be seen. The
1251 <guilabel>Container</guilabel> option should be set to the preset that
1252 you want to use on the projector. Of course, these two settings will
1257 Given the scaling and container information, DCP-o-matic will look at
1258 the DCP's container size, and then scale the source image up until one
1259 or both of its dimensions (width, height or both) fits the size of the
1260 container, all the while preserving the desired aspect ratio.
1264 In our example here, the DCP's container is specified as 1.85:1 (so
1265 that the DCP will play back correctly using the projector's
1266 ‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
1267 Scaling the source up whilst preserving its 1.85:1 aspect ratio will
1268 result in the image hitting the sides of the container first, at a
1269 size of 1998 x 836. This gives us a new version of the image as shown
1270 in <xref linkend="fig-pipeline3"/>.
1273 <figure id="fig-pipeline3">
1274 <title>Example image after cropping and scaling</title>
1277 <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
1283 The final step is to place the image into the DCP. In this case,
1284 since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
1285 we have set the <guilabel>container</guilabel> in the
1286 <guilabel>DCP</guilabel> tab to be Scope. Since the content has been
1287 scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
1288 be some black bars at the top and bottom of the image. DCP-o-matic
1289 shares out this black equally, as shown in <xref
1290 linkend="fig-pipeline3"/>.
1293 <figure id="fig-pipeline4">
1294 <title>Example image in the DCP</title>
1297 <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
1306 <chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1307 <title>DCP settings</title>
1310 This chapter describes the settings that apply to the whole DCP. The
1311 controls for these settings are in the <guilabel>DCP</guilabel> tab of
1312 the main window, as shown in <xref linkend="fig-dcp-tab"/>.
1315 <figure id="fig-dcp-tab">
1316 <title>DCP settings tab</title>
1319 <imagedata fileref="screenshots/dcp-tab&scs;"/>
1325 The first thing here is the name. This is generally set to the title
1326 of the film that is being encoded. If <guilabel>Use ISDCF
1327 name</guilabel> is not ticked, the name that you specify will be used
1328 as-is for the name of the DCP. If <guilabel>Use ISDCF name</guilabel>
1329 is ticked, the name that you enter will be used as part of a
1330 ISDCF-compliant name.
1334 Underneath the name field is a preview of the name that the DCP will
1335 get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
1336 name</guilabel> check-box. The ISDCF name will be composed using details
1337 of your content's soundtrack, the current date and other things that
1338 can be specified in the ISDCF name details dialogue box, which you can
1339 open by clicking on the <guilabel>Details</guilabel> button.
1343 If you want to take the ISDCF-compliant name that DCP-o-matic
1344 generates and modify it, click <guilabel>Copy as name</guilabel> and
1345 the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
1346 You can then edit it as you wish. The DCP name should not matter (in
1347 that it should not affect how the DCP ingests or plays) but
1348 projectionists will appreciate it if you use the standard naming
1349 scheme as it makes it easier to identify details of the content.
1353 The <guilabel>Content Type</guilabel> option can be
1354 ‘feature’, ‘trailer’ or whatever; select the
1355 required type from the drop-down list. On some projection systems
1356 this will affect where your content appears in the projector's server
1357 user interface, so take care to select an appropriate type.
1361 The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
1362 is signed. This is rarely important; if in doubt, tick it.
1366 The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
1367 should be encrypted or not. If this is ticked, the DCP will require a
1368 KDM to play back. Encryption is discussed in <xref
1369 linkend="ch-encryption"/>.
1373 If you use encryption DCP-o-matic will generate a random encryption
1374 key for you. To specify your own key, click the
1375 <guilabel>Edit..</guilabel> button next to the key.
1379 The <guilabel>Standard</guilabel> option specifies which of the two
1380 DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
1381 more modern of the two).
1385 At the bottom of the DCP tab are a further two tabs, one each to
1386 contain the settings for the DCP's video and audio parts.
1390 The <guilabel>Container</guilabel> option sets the ratio of the image
1391 in the DCP. If this ratio is different to the ratio used for any
1392 content, DCP-o-matic will pad the content with black. In simple cases
1393 this should be set to the same ratio as that for the the primary piece
1394 of video content. Alternatively, you might want to pillarbox a small
1395 format into a Flat container: in this case, select the small format
1396 for the content's ratio and ‘Flat’ for the DCP.
1400 The <guilabel>Frame Rate</guilabel> control sets the frame rate of
1401 your DCP. This can be a little tricky to get right. Ideally, you
1402 want it to be the same as the video content that you are using. If it
1403 is not the same, DCP-o-matic must resort to some tricks to alter your
1404 content to fit the specified frame rate. Frame rates are discussed in
1405 more detail in <xref linkend="ch-frame-rates"/>.
1409 The <guilabel>Use best</guilabel> button sets the DCP video frame rate
1410 to what DCP-o-matic thinks is the best given the content that you have
1415 The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
1416 is checked. A 3D DCP will then be created, and any 2D content will be
1417 made 3D compatible by repeating the same frame for both left and right
1418 eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
1419 Real-D etc.) but not on a 2D system.
1423 The <guilabel>Resolution</guilabel> tab allows you to choose the
1424 resolution for your DCP. Use 2K unless you have content that is of
1425 high enough resolution to be worth presenting in 4K.
1429 The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
1430 the final image files used within the DCP will be. Larger numbers
1431 will give better quality, but correspondingly larger DCPs. The
1432 bandwidth can be between 50 and 250 megabits per second (Mbit/s).
1433 Most commercial DCPs use bit rates between 75 and 125 MBit/s.
1437 The <guilabel>Audio Channels</guilabel> control sets the number of
1438 audio channels that the DCP will have. If the DCP has any channels
1439 for which there is no content audio they will be replaced by silence.
1440 You can only set an even number of channels here, since that is
1441 required by the DCI standard. If you want an odd number of channels,
1442 set the DCP channel count to one greater than you need and the
1443 unused channel will be filled with silence.
1447 The <guilabel>Processor</guilabel> control allows you to select a
1448 process to apply to the audio before it goes into the DCP. Two processes are currently provided:
1452 <listitem>Mid-side decode — this will take a L/R
1453 stereo input and extract the common part (corresponding to the
1454 ‘Mid’ in a mid-side signal) into the DCP's centre channel.
1455 The remaining L/R parts will be kept in the L/R channels of the DCP.
1456 This may be useful to make near-field L/R mixes more compatible with
1457 cinema audio systems.</listitem>
1458 <listitem>Stereo to 5.1 up-mixer A — this will take a stereo input and up-mix it to ‘fake’ 5.1. The input L/R are treated as follows:
1460 <listitem>DCP L is input L bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1461 <listitem>DCP R is input R bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1462 <listitem>DCP C is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 150Hz and 1.9kHz.</listitem>
1463 <listitem>DCP Lfe is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 20Hz and 150Hz.</listitem>
1464 <listitem>DCP Ls is input L bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1465 <listitem>DCP Rs is input R bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1468 This upmixing algorithm is due to Gérald Maruccia.
1471 <listitem>Stereo to 5.1 up-mixer B — this uses a different approach:
1473 <listitem>DCP L is input L.</listitem>
1474 <listitem>DCP R is input R.</listitem>
1475 <listitem>DCP C is input L + input R taken down by 3dB.</listitem>
1476 <listitem>DCP Lfe is DCP C bandpass filtered between 20Hz and 150Hz.</listitem>
1477 <listitem>DCP Ls and Rs are input L - input R with a 20ms delay.</listitem>
1482 <!-- ============================================================== -->
1484 <title>Show audio</title>
1487 The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
1488 to examine the audio in your content and plot a graph of its level
1489 over time. This can be useful for getting a rough idea of how loud
1490 the sound will be in the cinema auditorium. A typical plot is shown
1491 in <xref linkend="fig-audio-plot"/>
1494 <figure id="fig-audio-plot">
1495 <title>Audio plot</title>
1498 <imagedata fileref="screenshots/audio-plot&scs;"/>
1504 The plot gives the audio level (vertical axis, in dB) with time
1505 (horizontal axis). 0dB represents full scale, so if there is anything
1506 near this you are in danger of clipping the projector's audio outputs.
1510 There are two plot types: the peak level and the RMS, which can be
1511 shown or hidden using the check-boxes on the right hand side of the
1516 The channel check-boxes will show or hide the plot(s) for
1517 the corresponding channels in the DCP.
1521 The smoothing slider applies a variable degree of temporal smoothing
1522 to the plots, which can make them easier to read in some cases.
1526 Obviously the audio plot is no substitute for listening in an
1527 auditorium, but it can be useful to get levels in the right rough area.
1534 <chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1535 <title>Encryption</title>
1538 It is not required that DCPs be encrypted, but they can be. This
1539 chapter discusses the basic principles of DCP encryption, and how
1540 DCP-o-matic can create encrypted DCPs and KDMs for them.
1544 <!-- ============================================================== -->
1546 <title>Basics</title>
1549 DCPs can be encrypted. This means that the picture and sound data are
1550 encoded in such a way that only cinemas ‘approved’ by the
1551 DCP's creators can read them. In particular, this means copies of the
1552 DCP can be distributed by insecure means: if an ne'er-do-well called
1553 Mallory obtains a hard drive containing an encrypted DCP, there is no
1554 way that he can play it. Only those cinemas who receive a correct key
1555 delivery message (KDM) can play the DCP.
1559 <!-- ============================================================== -->
1561 <title>How it works (in a nutshell)</title>
1564 This section attempts to summarise how DCP encryption works. You can
1565 skip it if you like. You may need some knowledge of encryption
1566 methods to understand it.
1570 We suppose that we are trying to send a DCP to
1571 Alice's cinema without a troublemaker called Mallory being able to
1576 There are two main families of encryption techniques. The first,
1577 symmetric-key encryption, allows us to encode some data using some
1578 numeric key. After encoding, no-one can decode the data unless they
1583 The first step in a DCP encryption is to encode its data with some key
1584 using symmetric-key encryption. The encrypted DCP can then be sent
1585 anywhere, safe in the knowledge that even if Mallory got hold of a
1586 copy, he could not decrypt it.
1590 Alice, however, needs to know the key so she can play the DCP in her
1591 cinema. A simple approach might be for us to send Alice the key.
1592 However, if Mallory can intercept the DCP, he might also be able to
1593 intercept our communication of the key to Alice. Furthermore, if Alice
1594 happened to know Mallory, she could just send him a copy of the key.
1598 The clever bit in the process requires the use of public-key
1599 encryption. With this technique we can encrypt a block of data using
1600 some ‘public’ key. That data can then only be decrypted
1601 using a corresponding private key which is
1602 <emphasis>different</emphasis> to the public key. The private and
1603 public keys form a pair which are related mathematically, but it is
1604 extremely hard (or rather, virtually impossible) to derive the private
1605 key from the public key.
1609 Public-key encryption allows us to distribute the DCP's key to Alice
1610 securely. The manufacturer of Alice's projector generates a public
1611 and private key. They hide the private key deep inside the bowels of
1612 the projector (inside an integrated circuit) where no-one can read it.
1613 They then make the public key available to anyone who is interested.
1617 We take our DCP's symmetric key and encrypt it using the public key of
1618 Alice's projector. We send the result to Alice over email (using a
1619 format called a Key Delivery Message, or KDM). Her projector then
1620 decrypts our message using its private key, yielding the magic
1621 symmetric key which can decrypt the DCP.
1625 If is fine if Mallory intercepts our email to Alice, since the only
1626 key which can decrypt the message is the private key buried inside
1627 Alice's projector. The projector manufacturer is very careful that
1628 no-one ever finds out what this key is. Our DCP is secure: only Alice
1629 can play it back, since only her projector knows the key (even Alice
1637 <!-- ============================================================== -->
1639 <title>Encryption using DCP-o-matic</title>
1642 There are two steps to distributing an encrypted DCP. First, the
1643 DCP's data must be encrypted, and secondly KDMs must be generated for
1644 those cinemas that are allowed to play the DCP.
1648 The first part is simple: ticking the <guilabel>Encrypted</guilabel>
1649 box in the <guilabel>DCP</guilabel> tab of DCP-o-matic will encrypt
1650 the DCP using a random key that DCP-o-matic generates. The key will
1651 be written to the film's metadata file, which should be kept
1656 A DCP that is generated with the <guilabel>Encrypted</guilabel> box
1657 ticked will not play on any projector as-is (it will be marked as
1658 ‘locked’, or whatever the projector manufacturer's term
1663 The second part is to generate KDMs for the cinemas that you wish to
1664 allow to play your DCP. This is done using the <guilabel>Make
1665 KDMs</guilabel> option on the <guilabel>Jobs</guilabel> menu. This
1666 will open the KDM dialogue box, as shown in <xref linkend="fig-kdm"/>.
1669 <figure id="fig-kdm">
1670 <title>KDM dialog</title>
1673 <imagedata fileref="screenshots/kdm&scs;"/>
1679 In order to generate KDMs for a particular projector, you need to know
1680 its <emphasis>certificate</emphasis>. These are usually made
1681 available by the projector manufacturers as text files with a
1682 <code>.pem</code> extension.
1686 DCP-o-matic can store these certificates to make life easier. It
1687 stores details of cinemas and screens within those cinemas. Each
1688 screen has a certificate for its projector. DCP-o-matic can generate
1689 KDMs for any screens that it knows about.
1693 To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
1694 a dialogue box into which you can enter the cinema's name, and
1695 optionally an email address. This email address can be used to
1696 get DCP-o-matic to deliver KDMs via email.
1700 Once you have added a cinema, select it by clicking on its name, then
1701 click <guilabel>Add Screen...</guilabel>. The resulting dialogue
1702 allows you to enter a name for the screen and load in its certificate
1703 from a file. The certificate should be in SHA256 PEM format.
1707 Alternatively, certificates for projection systems made by some
1708 manufacturers can be downloaded from databases provided by the
1709 manufacturer. Currently this is supported for Doremi and Dolby
1710 equipment. If you are targeting a screen with equipment by one of
1711 these manufacturers you can select Doremi or Dolby from the
1712 <guilabel>Server manufacturer</guilabel> selection and then click
1713 <guilabel>Download</guilabel>. In the next dialogue box, enter
1714 details of the screen and click <guilabel>Download</guilabel> and, all
1715 being well, the certificate will be fetched.
1719 Using the download system you will need to know the serial number of
1720 the media server in use in the screen. Most cinema projection or
1721 technical departments will know these serial numbers.
1725 Note that the reliability of the manufacturers' certificate databases
1726 cannot be guaranteed. It is vital that KDMs are tested by the
1727 destination cinema will in advance of show time to identify any
1732 Once you have set up all the screens that you need KDMs for, select
1733 the CPL that you want to create the KDM for. You can use the
1734 drop-down list to select the CPLs in the current film project, or load
1735 a CPL from somewhere else. Select the cinemas and/or screens that you
1736 want KDMs for and fill in the start and end dates and times.
1740 You must also select the type of KDM that you want to generate. If in
1741 doubt, use <guilabel>Modified Transitional 1</guilabel>.
1745 Finally, choose what you want to do with the KDMs. They can be
1746 written to disk, to a location that you can specify by clicking
1747 <guilabel>Browse</guilabel>. Alternatively, if you choose
1748 <guilabel>Send by email</guilabel> the KDMs will be zipped up and
1749 emailed to the appropriate cinema email addresses. Click OK to
1759 <!-- ============================================================== -->
1760 <chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1761 <title>Preferences</title>
1764 DCP-o-matic provides a few preferences which can be used to modify its
1765 behaviour. This chapter explains those options.
1769 <!-- ============================================================== -->
1771 <title>The preferences dialogue</title>
1774 The preferences dialogue is opened by choosing
1775 <guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
1776 menu. The dialogue is split into seven tabs.
1779 <!-- ============================================================== -->
1781 <title>General</title>
1784 The general tab is shown in <xref linkend="fig-prefs-general"/>.
1787 <figure id="fig-prefs-general">
1788 <title>General preferences</title>
1791 <imagedata fileref="screenshots/prefs-general&scs;"/>
1797 <!-- ============================================================== -->
1799 <title>Language</title>
1802 If you tick the <guilabel>Set Language</guilabel> checkbox and choose
1803 a language from the list, that language will be used for DCP-o-matic.
1804 You will need to restart DCP-o-matic to see the new language.
1808 The translations for DCP-o-matic have been contributed by helpful
1809 users. If your language is not on the last, head to <ulink
1810 url="http://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
1811 read about how to contribute a translation.
1816 <!-- ============================================================== -->
1818 <title>Threads</title>
1821 When DCP-o-matic is encoding DCPs it can use multiple parallel threads
1822 to speed things up. Set this value to the number of threads
1823 DCP-o-matic should use. This should normally be the number of
1824 processors (or processor cores) in your machine. DCP-o-matic will try
1825 to set this up correctly when you run it for the first time.
1830 <!-- ============================================================== -->
1832 <title>Updates</title>
1835 The <guilabel>Check for updates on startup</guilabel> option, if
1836 enabled, will tell DCP-o-matic to check on <ulink
1837 url="http://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
1838 newer versions of DCP-o-matic then the one you are running. If so, a
1839 dialogue box will open with a link to download the new version.
1844 The <guilabel>Check for testing updates as well as stable
1845 ones</guilabel> option will also check for test updates as well as
1846 those that are formally ‘released’. This is useful if you
1847 like to live on the bleeding edge!
1851 <!-- ============================================================== -->
1853 <title>Issuer and creator</title>
1856 With these controls you can set the issuer and creator strings that
1857 will be put into the DCPs which you create.
1863 <!-- ============================================================== -->
1865 <title>Defaults</title>
1868 The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
1871 <figure id="fig-prefs-defaults">
1872 <title>Defaults preferences</title>
1875 <imagedata fileref="screenshots/prefs-defaults&scs;"/>
1881 The options in this tab simply allow you to set up default values for
1882 various properties of new films.
1887 <!-- ============================================================== -->
1889 <title>Servers</title>
1892 The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
1895 <figure id="fig-prefs-servers">
1896 <title>Servers preferences</title>
1899 <imagedata fileref="screenshots/prefs-servers&scs;"/>
1905 If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
1906 locate encoding servers automatically (see <xref
1907 linkend="ch-servers"/>).
1911 Instead of this (or in addition) servers can be specified explicitly.
1912 To add a server, click <guilabel>Add...</guilabel> and enter the host
1913 name or IP address of the server to use.
1919 <!-- ============================================================== -->
1920 <section xml:id="sec-prefs-keys">
1924 The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) holds options
1925 related to the keys and certificates used in some parts of DCP
1929 <figure id="fig-prefs-keys">
1930 <title>Keys preferences</title>
1933 <imagedata fileref="screenshots/prefs-keys&scs;"/>
1939 At the top of the tab is the chain of certificates that will be used
1940 to sign DCPs and KDMs. DCP-o-matic creates a random chain when you
1941 first run it and if you are happy to use this chain you can ignore the
1942 preferences. Otherwise, you can add or remove certificates from the
1943 chain using the <guilabel>Add...</guilabel> and
1944 <guilabel>Remove</guilabel> buttons.
1948 If you want DCP-o-matic to re-create the certificate chain (using new,
1949 random certificates) click <guilabel>Re-make
1950 certificates...</guilabel> and specify your organisation and common
1951 names in the dialogue box that opens.
1955 Underneath the certificate chain is the private key that corresponds
1956 to the leaf certificate in the chain. You can specify your own
1957 private key by clicking <guilabel>Load...</guilabel>. You must do
1958 this if you change the leaf certificate, so that the leaf private key
1959 corresponds to the public key held in the leaf certificate.
1963 Underneath the details of the certificate chain and private key for
1964 signing of DCPs and KDMs is a second chain and key which is used by
1965 DCP-o-matic when you import an encrypted DCP as a piece of content.
1966 The leaf certificate of this chain contains the public key that should
1967 be used when targeting a KDM at DCP-o-matic.
1971 If you want to import an encrypted DCP you will need to give the
1972 decryption certificate to the distributor of the DCP so that they can
1973 generate a DKDM for you. You can save this certificate to disk by
1974 clicking <guilabel>Export DCP decryption certificate</guilabel>. As
1975 with the signing chain, DCP-o-matic will create a certificate chain
1976 and private key for you. You can also choose to load your own
1977 certificates and key or re-make the chain and key with new, random
1983 <!-- ============================================================== -->
1984 <section xml:id="sec-prefs-tms">
1986 <titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>
1989 The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
1990 options for specifying details about your theatre management system
1991 (TMS). If you do this, and your TMS accepts SSH or FTP connections,
1992 you can upload DCPs directly from DCP-o-matic to the TMS using the
1993 <guilabel>Send DCP to TMS</guilabel> option in the
1994 <guilabel>Jobs</guilabel> menu.
1997 <figure id="fig-prefs-tms">
1998 <title>TMS preferences</title>
2001 <imagedata fileref="screenshots/prefs-tms&scs;"/>
2007 <guilabel>Protocol</guilabel> should be set to SCP or FTP as
2008 appropriate for your TMS. We know that the Arts Alliance Media (AAM)
2009 and the Doremi ranges uses SCP connections, and that Dolby's TMSs use
2010 FTP. Do let us know if you use any other type of TMS with the
2011 <guilabel>Send DCP to TMS</guilabel> feature.
2015 <guilabel>TMS IP address</guilabel> should be set to the IP address of
2016 your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
2017 should be uploaded to (which will be relative to the home directory of
2018 the SSH or FTP user). Finally, the user name and password are the
2019 credentials required to log into the TMS via SSH or FTP.
2023 Note that for this to work on Doremi servers you will need to set the
2024 <code>PasswordAuthentication</code> option in your server's
2025 <code>sshd_config</code> to <code>yes</code>.
2031 <!-- ============================================================== -->
2033 <title>KDM email</title>
2036 The KDM email is shown in <xref linkend="fig-prefs-kdm-email"/>.
2039 <figure id="fig-prefs-kdm-email">
2040 <title>KDM email preferences</title>
2043 <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
2049 This is a template for the email that is used to send KDMs out to
2050 cinemas. You can change it to say whatever you like. A few
2051 ‘magic’ strings will be replaced by information from the
2052 KDM that is being sent:
2056 <title>‘Magic’ KDM strings</title>
2057 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
2060 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
2063 <entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
2066 <entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
2069 <entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
2072 <entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
2079 The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
2085 <!-- ============================================================== -->
2086 <section xml:id="sec-prefs-advanced">
2087 <title>Advanced</title>
2088 <titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>
2091 The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
2094 <figure id="fig-prefs-advanced">
2095 <title>Advanced preferences</title>
2098 <imagedata fileref="screenshots/prefs-advanced&scs;"/>
2104 <guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
2105 bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
2106 are advised to leave this at 250Mbit/s in normal use for maximum DCP
2111 <guilabel>Allow any DCP frame rate</guilabel> removes the limits on
2112 the DCP video frame rates that DCP-o-matic will create. This may be
2113 useful for experimentation. Again, you are strongly advised to leave
2114 this unticked for normal use.
2118 <guilabel>Only servers encode</guilabel> makes DCP-o-matic encode
2119 JPEG2000 data only on encoding servers and not on the host. We
2120 suggest you leave this un-ticked unless you have a good reason to do otherwise.
2124 The four checkboxes labelled <guilabel>Log</guilabel> control what
2125 sort of messages DCP-o-matic writes to its log file when creating a
2126 DCP. It is useful to leave <guilabel>General</guilabel>,
2127 <guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
2128 as this makes the log files useful for tracking down bugs.
2132 The <guilabel>Timing</guilabel> checkbox will enable extra log entries
2133 to allow developers to investigate and optimize the speed of
2134 DCP-o-matic. It will significantly increase the size of the log files
2135 that are generated, so in normal use it is best to leave this
2143 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
2144 <title>Frame rates</title>
2147 In an ideal world, a DCP would be created using content at the same
2148 video frame and audio sampling rates as the DCP. This is not,
2149 however, always possible.
2153 <!-- ============================================================== -->
2155 <title>DCP frame rate limitations</title>
2158 There are some limitations to video and audio frame rates in DCPs. This is
2159 complicated by the fact that not all projectors will play DCPs at the
2160 same frame rates. It is possible to create a DCP which one projector will
2161 play fine, but another (of a different type) will refuse to play, or
2162 even refuse to ingest.
2166 <!-- ============================================================== -->
2168 <title>Guaranteed rates</title>
2171 The only rates that are (pretty much) guaranteed to work on all DCI
2172 projectors are 24 frames per second (fps) for video and 48kHz or 96kHz
2173 for audio. If you are sending your DCPs to unknown places it wise to
2174 consider using these rates if at all possible.
2180 <!-- ============================================================== -->
2182 <title>Other often-supported rates</title>
2184 Many projectors now in the wild support additional video frame rates:
2190 <!-- ============================================================== -->
2192 <title>Adapting content to fit the DCP rate</title>
2195 DCP-o-matic has a few tricks to allow you to use content that is not
2196 in one of the ‘approved’ rates.
2200 Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
2201 with minimal loss in quality.
2205 Video rate conversion is harder. DCP-o-matic's basic strategy to deal
2206 with a non-supported content rate is to run it at the wrong speed, and
2207 to adjust the audio to keep it in sync.
2210 <para>Let us consider the example of a 25fps source for which you want
2211 to create a 24fps DCP. DCP-o-matic will put the frames from the
2212 source directly into the DCP without modification, but will tell the
2213 projector to play them back at 24fps. This means that the DCP's video
2214 will run slightly slower than the original.
2218 If DCP-o-matic did nothing else, the result of this would be that the
2219 audio would be running at the original speed with the video running
2220 slowly. Hence the audio would drift slowly out of sync. To avoid
2221 this, DCP-o-matic also resamples the audio such that the projector
2222 will play it too slow by the same amount. Hence it will sound
2223 slightly different but will remain in sync with the video.
2227 For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
2234 <!-- ============================================================== -->
2236 <title>Setting up</title>
2239 The <guilabel>Frame Rate</guilabel> control in the
2240 <guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
2241 will use. Clicking <guilabel>Use best</guilabel> sets the rate to
2242 what DCP-o-matic thinks is the best for your content. With this
2243 button, DCP-o-matic assumes that the whole range of frame rates (24,
2244 25, 30 and 48fps) are allowable.
2248 After this, the <guilabel>Video</guilabel> tab for each piece of
2249 content will give a summary of what DCP-o-matic is doing with that
2254 If you want to experiment with other non-standard frame rates, you can
2255 do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
2256 the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
2257 <xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>). You are strongly advised to
2258 use this only on your own equipment, and only for experimentation
2267 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
2268 <title>Encoding servers</title>
2271 One way to increase the speed of DCP encoding is to use more
2272 than one machine at the same time. An instance of DCP-o-matic can
2273 offload some of the time-consuming JPEG2000 encoding to any number of
2274 other machines on a network. To do this, one ‘master’
2275 machine runs DCP-o-matic, and the ‘server’ machines run
2276 a small program called <code>dcpomatic_server</code>.
2280 The master and server machines do not need to be the same type, so you
2281 can mix Windows PCs, Macs and Linux machines as you wish.
2285 <!-- ============================================================== -->
2287 <title>Running the servers</title>
2290 There are two options for the encoding server;
2291 <code>dcpomatic_server_cli</code>, which runs on the command line, and
2292 <code>dcpomatic_server</code>, which has a simple GUI. The command line
2293 version is well-suited to headless servers, especially on Linux, and
2294 the GUI version works best on Windows where it will put an icon in the
2299 To run the command line version, simply enter:
2303 dcpomatic2_server_cli
2307 at a command prompt. If you are running the program on a machine with
2308 a multi-core processor, you can run multiple parallel encoding threads
2309 by doing something like:
2313 dcpomatic2_server_cli -t 4
2317 to run 4 threads in parallel.
2321 To run the GUI version on windows, run the ‘DCP-o-matic encode
2322 server’ from the start menu. An icon will appear in the system
2323 tray; right-click it to open a menu from whence you can quit the
2324 server or open a window to show its status.
2327 <para>If you would rather not bother installing DCP-o-matic on your
2328 server computers, the other option is to use the live-CD
2329 image that you can download from the <ulink
2330 url="http://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
2332 <para>Either burn the image to CD, or write it to a USB stick (using
2333 something like <ulink
2334 url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
2335 PC from the CD or USB stick and it becomes a DCP-o-matic server
2336 without touching your standard operating system install.
2341 <!-- ============================================================== -->
2343 <title>Setting up DCP-o-matic</title>
2346 DCP-o-matic periodically looks on the local network for servers. Any
2347 that it finds are given work to do during encodes. Selecting
2348 <guilabel>Encoding Servers</guilabel> from the
2349 <guilabel>Tools</guilabel> menu brings up a window which shows that
2350 servers that DCP-o-matic has found.
2355 <!-- ============================================================== -->
2357 <title>Some notes about encode servers</title>
2360 DCP-o-matic does not mind if servers come and go; if a server
2361 disappears, DCP-o-matic will stop sending work to it, and will check
2362 it every minute or so in case it has come back online.
2366 You will probably find that using a 1Gb/s or faster network will
2367 provide a significant speed-up compared to a 100Mb/s network.
2374 <chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2375 <title>Generated files</title>
2378 DCP-o-matic generates a number of files as it makes a DCP. <xref
2379 linkend="fig-file-structure"/> shows the files that might be generated
2380 after you have created a DCP for a film called ‘DCP Test’.
2383 <figure id="fig-file-structure">
2384 <title>Creating a new film</title>
2387 <imagedata fileref="diagrams/file-structure&dia;"/>
2393 The <code>DCP Test</code> folder is the one that you specify when you
2394 select the <guilabel>New Film</guilabel> option from DCP-o-matic's
2395 menu. Everything is stored inside this folder.
2399 DCP-o-matic generates some working files as it goes along. These are as follows:
2402 <listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
2403 along. This can be useful for debugging purposes if something goes
2406 <listitem><code>metadata</code> stores the settings that you have made
2407 for this film: things like cropping, output format and so on.</listitem>
2409 <listitem><code>video</code> is where DCP-o-matic writes the DCP's
2410 video data as it encodes it.</listitem>
2412 <listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>
2414 <listitem><code>info</code> contains details of each video frame that
2415 DCP-o-matic has written so far. This is used when an encoding
2416 operation is interrupted and DCP-o-matic must resume it.</listitem>
2421 Following this is the DCP itself:
2422 <code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>. This
2423 contains some small XML files, which describe the DCP, and two large
2424 MXF files, which contain the DCP's audio and video data. This folder
2425 (<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
2426 to the cinema which is showing your DCP.
2432 <title>Loose ends</title>
2435 This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
2439 <!-- ============================================================== -->
2441 <title>Resuming encodes</title>
2444 If you cancel a DCP encoding run half-way through, or your computer
2445 crashes... fear not. DCP-o-matic takes care to ensure that, in most
2446 cases, it can resume encoding from where it left off. When you
2447 re-start a DCP creation, using the same settings are a previous run,
2448 DCP-o-matic will first check that the existing picture frames are
2449 correct, and then resume from where it left off. The checking of
2450 existing frames does take some time, but it is much faster than
2451 running a full re-encode.
2455 This resumption is achieved by writing a digest (hash) to disk for
2456 every image frame that is written. On resumption, the existing MXF
2457 file for image data is read and its contents checked against the
projects / dcpomatic.git / blob